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Francisca Goldsmith. Heather Booth. Jessica Moyer.

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Michael Sullivan. Megan M. Angela Carstensen. Audrey Lewis. Vee Friesner Carrington. John C. Ann Bouricius. Becky Siegel Spratford. Brad Hooper. Vanessa Irvin Morris. Derek M Buker. Bestselling Series. Harry Potter. Popular Features. New Releases.

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Free delivery worldwide. Moving far beyond merely offering lists of book titles, this RA guide specifically helps librarians and educators in public libraries, middle and high school libraries, and colleges and universities expand their knowledge of young adult literature genre by genre. Covering popular YA titles as well as adult titles with crossover appeal, Carstensen offers in-depth chapters discussing realistic fiction, science fiction, fantasy, horror, historical fiction, thrillers, and nonfiction; includes core titles and authors in each genre that can be used to create a reading plan, plus specific whole collection readers' advisory advice for serving both existing fans and those new to the genre; examines teen reading habits and offers tips for successful marketing; and provides guidance on getting up to speed as well as additional resources for staying current.

This guide will help readers' advisors understand what teens appreciate about their favorite genres while also serving as a helpful collection development tool. Product details Format Paperback pages Dimensions x x People who viewed this also viewed. Young Adult Literature Michael Cart. Add to basket. Bestsellers in Children's Literature Studies: General.

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Readers' Advisory to Teens: An Adult Services Librarian's Guide

Northern Lights Philip Pullman. Harry Potter and the Chamber of Secrets J. Demon Dentist David Walliams. Elmer David McKee. The Graveyard Book Neil Gaiman. Twilight Stephenie Meyer.

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Thea Stilton Thea Stilton. For the most part, these stories are not densely written. Identification with the protagonist and her plight, the desire to unravel the mystery behind events, as well as the building suspense, make these page-turners. Characterization Point of view is key to the appeal of Romantic Suspense. Although readers appreciate the suspenseful and romantic story line, they also demand the reassurance that the heroine has survived. The story needs to be told from, filtered through, her point of view. If it is not, fans may consider the story suspenseful but will also recognize that something is missing.

It is for her story, because they identify and sympathize with her, that readers flock to novels of Romantic Suspense.

The point of view of the threatened heroine dominates the story. In bygone years there were usually two men vying for her affection—one truly the hero and the other the villain—but not until the end could she, and the reader, distinguish between the two. Now, rather than choosing between two men, she must often come to terms with the true nature of the man she has come to love, despite her concerns about him. The hero may even appear as a villain, and he certainly seems untrustworthy in some way. In the end, however, he always exhibits the traits of a true hero. Story Line The most dramatic changes in the genre over the past few years have been in the increase in explicit sex and violence and the addition of strong language.

Although these authors—Brown, Robards, Iris Johansen— made their names and reputations writing Romances, they have added so much suspense to their novels, as well as violence and strong language, that they are no longer considered Romance writers by fans of that genre. Yet the romantic language, tone, and situations in their novels play too important a role for them to be considered writers of straightforward Suspense. In fact, many have drawn their Romance fans with them to this reimagined Romantic Suspense genre, and although the readers may not find the Romances they expect in current titles by their favorites, author loyalty and strong romantic elements have encouraged them to stay fans.

Is this someone related to one of her failed hostage negotiations or an ex-cop with a grudge? Roberts establishes a vital romantic relationship, and the romantic elements remain as intense and important as the suspense. Even with the increase in explicit violence, sex, and language, the romantic tone and relationship remain crucial to the story. If that strong romantic relationship is missing, the book probably fits in the Suspense genre instead.

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This is often not the case in Romantic Suspense. Here, we have reason to suspect the motives of both men, hero and villain, and not until the end do we—and our heroine—discover which is really which. However, Lilly becomes increasingly concerned that he might be the serial murderer responsible for five missing women in the area, and when Burton realizes the two are trapped together, the tension ratchets up several notches.

The claustrophobic tone also elevates the tension, as Lilly wonders whether there is more danger from the storm or her cabin mate. In other Romantic Suspense novels, the heroine has difficulty accepting that the male character could be a hero, even though we as readers know him to be one. The hero is a man with a shady past, not the stock straight-arrow hero, and the heroine must uncover his virtues as their relationship develops.